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* Oblique strategies
#+CAPTION: Oblique Strategies deck, PO Box, The Barbican, London, UK. Cory Doctorow
[[strategies/9041086636_498b3a0741_k.jpg]]
"In 1975, Peter Schmidt and Brian Eno created the original pack of Oblique Strategies cards, through thinking about approaches to their own work as artist and musician. The Oblique Strategies constitute a set of over 100 cards, each of which is a suggestion of a course of action or thinking to assist in creative situations. These famous cards have been used by many artists and creative people all over the world since their initial publication." https://www.enoshop.co.uk/product/oblique-strategies.html
* Acute tactics
"Each card contains a phrase or cryptic remark which can be used to break a deadlock or dilemma situation. Some are specific to music composition; others are more general." http://en.wikipedia.org/wiki/Oblique_Strategies
"Throughout the world people have realized a universality among these word combinations: they speak to the mind, to the heart and to the gut. Whatever obstacles a person may find in their life, meditating on one of these strategies can help a person focus towards their goal. These oblique strategies never provide answers, but they give a person impetus to look somewhere they hadn't thought of looking before. It's like having someone look over your shoulder and point out something you overlooked." https://h2g2.com/entry/A635528
Oblique strategies can be installed via [[https://melpa.org][MELPA]] (or manually from [[https://github.com/zzkt/oblique-strategies][github]])
#+BEGIN_SRC emacs-lisp
(use-package oblique
:config (setq oblique-edition "strategies/oblique-strategies-condensed.txt"))
#+END_SRC
A cryptic remark can be produced when needed using =M-x oblique-strategy= or more programatically if required e.g. =(alert (oblique-strategy) :title "Obliquely...")= it's also possible to insert an Oblique Strategy with =insert-oblique-strategy=
* Oblique sources
"The purpose of this document is to provide a listing of the complete contents of all three versions of the Oblique Strategies. While my interest in doing so is scholarly, readers may be interested in constructing their own "meta-set" of all three editions of the decks, or in looking at what is added or deleted." http://music.hyperreal.org/artists/brian_eno/osfaq2.html
"I do this with hesitation. The following list is unarguably copyrighted by Brian Eno himself, and will no doubt be removed from this guide entry by some uninspired lawyer. The intent of this document is not to gain financially at the expense of anyone, but to spread the knowledge of this little known but really keen neato cool idea." https://h2g2.com/entry/A635528
Several editions of the Oblique Strategies have be produced, published, explored and transcribed. *Edition 1 (1975), *Edition 2 (1978), *Edition 3 (1979)*, *Edition 4 (1996)* of Oblique Strategies © 1975, 1978, 1979, and 2002 Brian Eno and Peter Schmidt. An unofficial *Condensed Edition (2001)* "is a condensed version of all four of the original versions, and also includes examples from Brian Eno's own publically published diary, as well as a version made public by the Whole Earth Catalog." https://h2g2.com/entry/A635528
To use a specific edition set the variable =oblique-edition= for example...
using a file name...
=(setq oblique-edition "strategies/oblique-strategies-edition-4.txt")=
or customize (using the name of the edition)...
=M-x customize-group RET oblique-strategies RET=
* Further
- [[https://www.enoshop.co.uk/product/oblique-strategies.html][Physical Non-Musical]] (Eno Shop)
- [[http://music.hyperreal.org/artists/brian_eno/osfaq2.html][The More-Or-Less Complete and True History of the Oblique Strategies]] (1995)
- notes from [[http://www.rtqe.net/ObliqueStrategies/index.html][Gregory Taylor]] (continued...) and [[https://github.com/ptigas/oblique-strategies][Panagiotis Tigas]] (2012)
- [[http://www.heraclitusfragments.com/Fragments.html][The Fragments of Heraclitus]] (6th century BCE)

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;;; oblique.el --- Provide an oblique strategy
;; Copyright FoAM 2011
;;
;; Author: nik gaffney <nik@fo.am>
;; Created: 2011-11-11
;; Version: 0.1
;; Keywords: strategy, tactics, creativity
;; URL: https://github.com/zzkt/oblique-strategies
;; This file is not part of GNU Emacs.
;; This program is free software; you can redistribute it and/or modify
;; it under the terms of the GNU General Public License as published by
;; the Free Software Foundation; either version 2, or (at your option)
;; any later version.
;;
;; This program is distributed in the hope that it will be useful,
;; but WITHOUT ANY WARRANTY; without even the implied warranty of
;; MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the
;; GNU General Public License for more details.
;;
;; You should have received a copy of the GNU General Public License
;; along with this program; if not, write to the Free Software
;; Foundation, Inc., 675 Mass Ave, Cambridge, MA 02139, USA.
;;; Commentary:
;; "Oblique Strategies (subtitled over one hundred worthwhile dilemmas)
;; is a set of published cards created by Brian Eno and Peter Schmidt
;; first published in 1975, and is now in its fifth, open ended, edition.
;; Each card contains a phrase or cryptic remark which can be used to break
;; a deadlock or dilemma situation. Some are specific to music composition;
;; others are more general."
;; http://en.wikipedia.org/wiki/Oblique_Strategies
;;
;; "I do this with hesitation. The following list is unarguably copyrighted
;; by Brian Eno himself, and will no doubt be removed from this guide entry
;; by some uninspired lawyer. The intent of this document is not to gain
;; financially at the expense of anyone, but to spread the knowledge of this
;; little known but really keen neato cool idea."
;; https://h2g2.com/entry/A635528
;;
;; "The purpose of this document is to provide a listing of the complete
;; contents of all three versions of the Oblique Strategies. While my
;; interest in doing so is scholarly, readers may be interested in
;; constructing their own "meta-set" of all three editions of the decks,
;; or in looking at what is added or deleted."
;; http://music.hyperreal.org/artists/brian_eno/osfaq2.html
;;
;; Oblique Strategies © 1975, 1978, 1979, and 2002 Brian Eno and Peter Schmidt
;;; Revision history:
;;
;; - 2011-11-11 - protoversion, collection, collation
;; - 2019-12-12 - melpa emersion, stochastism
;;; Code:
(defgroup oblique-strategies nil
"Once the search has begun, something will be found"
:group 'stochastism)
(defcustom oblique-edition "strategies/oblique-strategies-condensed.txt"
"Which edition of the Oblique Strategies to draw from?"
:group 'oblique-strategies
:type '(choice
(const :tag "Condensed Edition (2001)" :value "strategies/oblique-strategies-condensed.txt")
(const :tag "Edition 4 (1996)" :value "strategies/oblique-strategies-edition-4.txt")
(const :tag "Edition 3 (1979)" :value "strategies/oblique-strategies-edition-3.txt")
(const :tag "Edition 2 (1978)" :value "strategies/oblique-strategies-edition-2.txt")
(const :tag "Edition 1 (1975)" :value "strategies/oblique-strategies-edition-1.txt")))
(defun read-lines (file)
"Read a file into a list of lines."
(with-temp-buffer
(insert-file-contents (expand-file-name
file (file-name-directory load-file-name)))
(split-string (buffer-string) "\n" t)))
(defvar strategies (read-lines oblique-edition))
(defun random-elt (list)
(nth (random (length list)) list))
;;;###autoload
(defun oblique-strategy ()
"An obique strategy."
(interactive)
(random-elt strategies))
;;;###autoload
(defun insert-oblique-strategy ()
"Insert an obique strategy at point."
(interactive)
(insert (oblique-strategy)))
(provide 'oblique)
;;; oblique.el ends here

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(Organic) machinery
A line has two sides
A very small object -Its centre
Abandon desire
Abandon normal instructions
Accept advice
Accretion
Adding on
Allow an easement (an easement is the abandonment of a stricture)
Always first steps
Always give yourself credit for having more than personality
Always the first steps
Are there sections? Consider transitions
Ask people to work against their better judgement
Ask your body
Assemble some of the elements in a group and treat the group
Back up a few steps. What else could you have done?
Balance the consistency principle with the inconsistency principle
Be dirty
Be extravagant
Be less critical more often
Breathe more deeply
Bridges -build -burn
Call your mother and ask her what to do.
Cascades
Change ambiguities to specifics
Change instrument roles
Change nothing and continue with immaculate consistency
Change specifics to ambiguities
Children's voices -speaking -singing
Cluster analysis
Consider different fading systems
Consider transitions
Consult other sources -promising -unpromising
Convert a melodic element into a rhythmic element
Courage!
Cut a vital connection
Decorate, decorate
Define an area as `safe' and use it as an anchor
Describe the landscape in which this belongs. (9 August)
Destroy nothing; Destroy the most important thing
Discard an axiom
Disciplined self-indulgence
Disconnect from desire
Discover the recipes you are using and abandon them
Discover your formulas and abandon them
Display your talent
Distorting time
Do nothing for as long as possible
Do something boring
Do something sudden, destructive and unpredictable
Do the last thing first
Do the washing up
Do the words need changing?
Do we need holes?
Don't avoid what is easy
Don't be afraid of things because they're easy to do
Don't be frightened of cliches
Don't be frightened to display your talents
Don't break the silence
Don't stress one thing more than another
Emphasize differences
Emphasize repetitions
Emphasize the flaws
Faced with a choice, do both
Feed the recording back out of the medium
Feedback recordings into an acoustic situation
Fill every beat with something
Find a safe part and use it as an anchor
First work alone, then work in unusual pairs.
From nothing to more than nothing
Get your neck massaged
Ghost echoes
Give the game away
Give way to your worst impulse
Go outside. Shut the door.
Go slowly all the way round the outside
Go to an extreme, move back to a more comfortable place
How would someone else do it?
How would you explain this to your parents?
How would you have done it?
Humanize something that is free of error.
Idiot glee (?)
Imagine the music as a moving chain or caterpillar
Imagine the music as a series of disconnected events
In total darkness, or in a very large room, very quietly
Infinitesimal gradations
Instead of changing the thing, change the world around it.
Intentions -credibility of -nobility of -humility of
Into the impossible
Is it finished?
Is something missing?
Is the intonation correct?
Is the style right?
Is the tuning appropriate?
Is the tuning intonation correct?
Is there something missing?
It is quite possible (after all)
It is simply a matter or work
Just carry on
Left channel, right channel, centre channel
List the qualities it has. List those you'd like.
Listen in total darkness, or in a very large room, very quietly
Listen to the quiet voice
Look at a very small object, look at its centre
Look at the order in which you do things
Look closely at the most embarrassing details and amplify.
Lost in useless territory
Lowest common denominator check -single beat -single note -single riff
Magnify the most difficult details
Make a blank valuable by putting it in an excquisite frame
Make a sudden, destructive unpredictable action; incorporate
Make an exhaustive list of everything you might do and do the last thing on the list
Make it more sensual
Make what's perfect more human
Mechanize something idiosyncratic
Move towards the unimportant
Mute and continue
Not building a wall but making a brick
Once the search has begun, something will be found
Only a part, not the whole
Only one element of each kind
Overtly resist change
Pae White's non-blank graphic metacard
Pay attention to distractions
Picture of a man spotlighted
Put in earplugs
Question the heroic approach
Remember those quiet evenings
Remove a restriction
Remove ambiguities and convert to specifics
Remove specifics and convert to ambiguities
Remove the middle, extend the edges
Repetition is a form of change
Retrace your steps
Revaluation (a warm feeling)
Reverse
Short circuit (example; a man eating peas with the idea that they will improve his virility shovels them straight into his lap)
Shut the door and listen from outside
Simple subtraction
Simply a matter of work
Slow preparation, fast execution
Spectrum analysis
State the problem in words as simply as possible
Steal a solution.
Take a break
Take away as much mystery as possible. What is left?
Take away the elements in order of apparent non-importance
Take away the important parts
Tape your mouth
The inconsistency principle
The most important thing is the thing most easily forgotten
The tape is now the music
Think - inside the work -outside the work
Think of the radio
Tidy up
Towards the insignificant
Trust in the you of now
Try faking it
Turn it upside down
Twist the spine
Use "unqualified" people.
Use an old idea
Use an unacceptable color
Use cliches
Use fewer notes
Use filters
Use something nearby as a model
Use your own ideas
Voice your suspicions
Water
What are the sections sections of? Imagine a caterpillar moving
What context would look right?
What do you do? Now, what do you do best?
What else is this like?
What is the reality of the situation?
What is the simplest solution?
What mistakes did you make last time?
What most recently impressed you? How is it similar? What can you learn from it? What could you take from it?
What to increase? What to reduce? What to maintain?
What were the branch points in the evolution of this entity
What were you really thinking about just now? Incorporate
What would make this really successful?
What would your closest friend do?
What wouldn't you do?
When is it for? Who is it for?
Where is the edge?
Which parts can be grouped?
Who would make this really successful?
Work at a different speed
Would anyone want it?
You are an engineer
You can only make one dot at a time
You don't have to be ashamed of using your own ideas
Your mistake was a hidden intention

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Abandon normal instruments
Accept advice
Accretion
A line has two sides
Allow an easement (an easement is the abandonment of a stricture)
Are there sections? Consider transitions
Ask people to work against their better judgement
Ask your body
Assemble some of the instruments in a group and treat the group
Balance the consistency principle with the inconsistency principle
Be dirty
Breathe more deeply
Bridges -build -burn
Cascades
Change instrument roles
Change nothing and continue with immaculate consistency
Children's voices -speaking -singing
Cluster analysis
Consider different fading systems
Consult other sources -promising -unpromising
Convert a melodic element into a rhythmic element
Courage!
Cut a vital connection
Decorate, decorate
Define an area as 'safe' and use it as an anchor
Destroy -nothing -the most important thing
Discard an axiom
Disconnect from desire
Discover the recipes you are using and abandon them
Distorting time
Do nothing for as long as possible
Don't be afraid of things because they're easy to do
Don't be frightened of cliches
Don't be frightened to display your talents
Don't break the silence
Don't stress one thing more than another
Do something boring
Do the washing up
Do the words need changing?
Do we need holes?
Emphasise differences
Emphasise repetitions
Emphasise the flaws
Faced with a choice, do both (given by Dieter Rot)
Feedback recordings into an acoustic situation
Fill every beat with something
Get your neck massaged
Ghost echoes
Give the game away
Give way to your worst impulse
Go slowly all the way round the outside
Honor thy error as a hidden intention
How would you have done it?
Humanise something free of error
Imagine the music as a moving chain or caterpillar
Imagine the music as a set of disconnected events
Infinitesimal gradations
Intentions -credibility of -nobility of -humility of
Into the impossible
Is it finished?
Is there something missing?
Is the tuning appropriate?
Just carry on
Left channel, right channel, centre channel
Listen in total darkness, or in a very large room, very quietly
Listen to the quiet voice
Look at a very small object, look at its centre
Look at the order in which you do things
Look closely at the most embarrassing details and amplify them
Lowest common denominator check -single beat -single note -single riff
Make a blank valuable by putting it in an exquisite frame
Make an exhaustive list of everything you might do and do the last thing on the list
Make a sudden, destructive unpredictable action; incorporate
Mechanicalise something idiosyncratic
Mute and continue
Only one element of each kind
(Organic) machinery
Overtly resist change
Put in earplugs
Remember .those quiet evenings
Remove ambiguities and convert to specifics
Remove specifics and convert to ambiguities
Repetition is a form of change
Reverse
Short circuit (example; a man eating peas with the idea that they will improve his virility shovels them straight into his lap)
Shut the door and listen from outside
Simple subtraction
Spectrum analysis
Take a break
Take away the elements in order of apparent non-importance
Tape your mouth (given by Ritva Saarikko)
The inconsistency principle
The tape is now the music
Think of the radio
Tidy up
Trust in the you of now
Turn it upside down
Twist the spine
Use an old idea
Use an unacceptable colour
Use fewer notes
Use filters
Use 'unqualified' people
Water
What are you really thinking about just now? Incorporate
What is the reality of the situation?
What mistakes did you make last time?
What would your closest friend do?
What wouldn't you do?
Work at a different speed
You are an engineer
You can only make one dot at a time
You don't have to be ashamed of using your own ideas

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Abandon normal instruments
Accept advice
Accretion
A line has two sides
Allow an easement (an easement is the abandonment of a stricture)
Always first steps
Always give yourself credit for having more than personality (given by Arto Lindsay)
Are there sections? Consider transitions
Ask people to work against their better judgement
Ask your body
Assemble some of the instruments in a group and treat the group
A very small object -Its centre
Balance the consistency principle with the inconsistency principle
Be dirty
Be extravagant
Breathe more deeply
Bridges -build -burn
Cascades
Change instrument roles
Change nothing and continue with immaculate consistency
Children's voices -speaking -singing
Cluster analysis
Consider different fading systems
Consult other sources -promising -unpromising
Convert a melodic element into a rhythmic element
Courage!
Cut a vital connection
Decorate, decorate
Define an area as 'safe' and use it as an anchor
Destroy -nothing -the most important thing
Discard an axiom
Disciplined self-indulgence
Disconnect from desire
Discover the recipes you are using and abandon them
Distorting time
Do nothing for as long as possible
Don't be afraid of things because they're easy to do
Don't be frightened of cliches
Don't be frightened to display your talents
Don't break the silence
Don't stress *on* thing more than another (sic)
Do something boring
Do the washing up
Do the words need changing?
Do we need holes?
Emphasise differences
Emphasise repetitions
Emphasise the flaws
Faced with a choice, do both (given by Dieter Rot)
Feed the recording back out of the medium
Fill every beat with something
Get your neck massaged
Ghost echoes
Give the game away
Give way to your worst impulse
Go outside. Shut the door.
Go slowly all the way round the outside
Honor thy error as a hidden intention
How would you have done it?
Humanise something free of error
Idiot glee (?)
Imagine the piece as a set of disconnected events
Infinitesimal gradations
Intentions -credibility of -nobility of -humility of
In total darkness, or in a very large room, very quietly
Into the impossible
Is it finished?
Is the tuning intonation correct?
Is there something missing?
It is quite possible (after all)
Just carry on
Left channel, right channel, centre channel
Listen to the quiet voice
Look at the order in which you do things
Look closely at the most embarrassing details and amplify them
Lost in useless territory
Lowest common denominator
Make a blank valuable by putting it in an exquisite frame
Make an exhaustive list of everything you might do and do the last thing on the list
Make a sudden, destructive unpredictable action; incorporate
Mechanicalise something idiosyncratic
Mute and continue
Not building a wall but making a brick
Only one element of each kind
(Organic) machinery
Overtly resist change
Put in earplugs
Question the heroic approach
Remember .those quiet evenings
Remove ambiguities and convert to specifics
Remove specifics and convert to ambiguities
Repetition is a form of change
Revaluation (a warm feeling)
Reverse
Short circuit (example; a man eating peas with the idea that they will improve his virility shovels them straight into his lap)
Simple subtraction
Simply a matter of work
Spectrum analysis
State the problem in words as simply as possible
Take a break
Take away the elements in order of apparent non-importance
Tape your mouth (given by Ritva Saarikko)
The inconsistency principle
The most important thing is the thing most easily forgotten
The tape is now the music
Think of the radio
Tidy up
Towards the insignificant
Trust in the you of now
Turn it upside down
Twist the spine
Use an old idea
Use an unacceptable colour
Use fewer notes
Use filters
Use 'unqualified' people
Water
What are the sections sections of? Imagine a caterpillar moving
What are you really thinking about just now?
What is the reality of the situation?
What mistakes did you make last time?
What would your closest friend do?
What wouldn't you do?
What would your closest friend do?
Work at a different speed
You are an engineer
You can only make one dot at a time
You don't have to be ashamed of using your own ideas

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Abandon normal instruments
Accept advice
Accretion
A line has two sides
Allow an easement (an easement is the abandonment of a stricture)
Always first steps
Are there sections? Consider transitions
Ask people to work against their better judgement
Ask your body
Assemble some of the elements in a group and treat the group
Balance the consistency principle with the inconsistency principle
Be dirty
Be extravagant
Be less critical more often
Breathe more deeply
Bridges -build -burn
Cascades
Change instrument roles
Change nothing and continue with immaculate consistency
Children -speaking -singing
Cluster analysis
Consider different fading systems
Consult other sources -promising -unpromising
Courage!
Cut a vital connection
Decorate, decorate
Define an area as 'safe' and use it as an anchor
Destroy -nothing -the most important thing
Discard an axiom
Disciplined self-indulgence
Disconnect from desire
Discover the recipes you are using and abandon them
Distorting time
Do nothing for as long as possible
Don't be afraid of things because they're easy to do
Don't be frightened of cliches
Don't be frightened to display your talents
Don't break the silence
Don't stress one thing more than another
Do something boring
Do the words need changing?
Do we need holes?
Emphasise differences
Emphasise repetitions
Emphasise the flaws
Fill every beat with something
From nothing to more than nothing
Ghost echoes
Give the game away
Give way to your worst impulse
Go outside. Shut the door.
Go slowly all the way round the outside
Go to an extreme, move back to a more comfortable place
Honor thy error as a hidden intention
How would you have done it?
Humanise something free of error
Idiot glee (?)
Imagine the piece as a set of disconnected events
Infinitesimal gradations
Intentions -nobility of -humility of -credibility of
In total darkness, or in a very large room, very quietly
Into the impossible
Is it finished?
Is the intonation correct?
Is there something missing?
It is quite possible (after all)
Just carry on
Listen to the quiet voice
Look at the order in which you do things
Look closely at the most embarrassing details and amplify them
Lost in useless territory
Lowest common denominator
Make a blank valuable by putting it in an exquisite frame
Make an exhaustive list of everything you might do and do the last thing on the list
Make a sudden, destructive unpredictable action; incorporate
Mechanicalise something idiosyncratic
Mute and continue
Not building a wall but making a brick
Once the search is in progress, something will be found
Only a part, not the whole
Only one element of each kind
(Organic) machinery
Overtly resist change
Question the heroic approach
Remember .those quiet evenings
Remove ambiguities and convert to specifics
Remove specifics and convert to ambiguities
Repetition is a form of change
Retrace your steps
Revaluation (a warm feeling)
Reverse
Short circuit (example; a man eating peas with the idea that they will improve his virility shovels them straight into his lap)
Simple subtraction
Simply a matter of work
State the problem in words as clearly as possible
Take a break
Take away the elements in order of apparent non-importance
The inconsistency principle
The most important thing is the thing most easily forgotten
The tape is now the music
Think of the radio
Tidy up
Towards the insignificant
Trust in the you of now
Turn it upside down
Use an old idea
Use an unacceptable colour
Use fewer notes
Use filters
Use 'unqualified' people
Water
What are the sections sections of? Imagine a caterpillar moving
What are you really thinking about just now?
What is the reality of the situation?
What mistakes did you make last time?
What wouldn't you do?
What would your closest friend do?
Work at a different speed
Would anybody want it?
You are an engineer
You can only make one dot at a time
You don't have to be ashamed of using your own ideas

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Abandon desire
Abandon normal instructions
Accept advice
Adding on
A line has two sides
Always the first steps
Ask people to work against their better judgement
Ask your body
Be dirty
Be extravagant
Be less critical
Breathe more deeply
Bridges -build -burn
Change ambiguities to specifics
Change nothing and continue consistently
Change specifics to ambiguities
Consider transitions
Courage!
Cut a vital connection
Decorate, decorate
Destroy nothing; Destroy the most important thing
Discard an axiom
Disciplined self-indulgence
Discover your formulas and abandon them
Display your talent
Distort time
Do nothing for as long as possible
Don't avoid what is easy
Don't break the silence
Don't stress one thing more than another
Do something boring
Do something sudden, destructive and unpredictable
Do the last thing first
Do the words need changing?
Emphasize differences
Emphasize the flaws
Faced with a choice, do both (from Dieter Rot)
Find a safe part and use it as an anchor
Give the game away
Give way to your worst impulse
Go outside. Shut the door.
Go to an extreme, come part way back
How would someone else do it?
How would you have done it?
In total darkness, or in a very large room, very quietly
Is it finished?
Is something missing?
Is the style right?
It is simply a matter or work
Just carry on
Listen to the quiet voice
Look at the order in which you do things
Magnify the most difficult details
Make it more sensual
Make what's perfect more human
Move towards the unimportant
Not building a wall; making a brick
Once the search has begun, something will be found
Only a part, not the whole
Only one element of each kind
Openly resist change
Pae White's non-blank graphic metacard
Question the heroic
Remember quiet evenings
Remove a restriction
Repetition is a form of change
Retrace your steps
Reverse
Simple Subtraction
Slow preparation, fast execution
State the problem as clearly as possible
Take a break
Take away the important parts
The inconsistency principle
The most easily forgotten thing is the most important
Think - inside the work -outside the work
Tidy up
Try faking it (from Stewart Brand)
Turn it upside down
Use an old idea
Use cliches
Use filters
Use something nearby as a model
Use 'unqualified' people
Use your own ideas
Voice your suspicions
Water
What context would look right?
What is the simplest solution?
What mistakes did you make last time?
What to increase? What to reduce? What to maintain?
What were you really thinking about just now?
What wouldn't you do?
What would your closest friend do?
When is it for?
Where is the edge?
Which parts can be grouped?
Work at a different speed
Would anyone want it?
Your mistake was a hidden intention